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Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

2025 Repress

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!

A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Country, Township-Jazz und Pop-Hits aus der Hochphase der sambischen Freiheitsbewegung. Der Sänger, Gitarrist und Bandleader Alick Nkhata bewegt sich mühelos zwischen einsamem Country-Slide, Big-Band-Pop und luftdichten Gesangsharmonien, die alle ihre Wurzeln in Bemba- und anderen afrikanischen traditionellen Liedern und Rhythmen haben. Es ist eine schwindelerregende, umfassende und weitreichende Mischung von einem Künstler und Musikarchivar, der zur Stimme des Freiheitskampfes seines Landes wurde. Die Texte und die Musik spiegeln die Zeit wider - einsame ländliche Klagelieder wie ,Nafwaya Fwaya" und ,Fosta Kayi" driften entlang der Eisenbahnlinien in die städtischen Zentren und Kupferminen. "Nalikwebele Sonka (I Told You Sonka)", gesungen in ,Deep-Bemba`, verbindet honiggetränkte Jodler mit einer Warnung vor der Abwärtsspirale der Arbeitslosigkeit in den Townships, während "Mayo Na Bwalya" (Mother of Bwalya) die Bitte einer Mutter an einen traditionellen Singvogel ist, ihren missratenen Sohn zu führen. Lieder wie ,Shalapo", ,Kalindawalo Na Mfumwa" und sein größter Hit ,Imbote" vereinen Klavier, Big-Band-Hörner und sogar frühe elektronische Instrumente zu atemberaubenden synkretistischen Pop-Meisterwerken. Diese LP ist das erste Mal, dass seine Musik auf Vinyl wiederveröffentlicht wird. Auf hochwertigem schwarzem Vinyl mit 12-seitigem Deluxe-Booklet mit unveröffentlichten Fotos, Texten, Übersetzungen und Anmerkungen des NTS-Radiomoderators Jamal Khadar.

On their last trip to Silberland, Bureau B hurtled along the chrome highways and glass skyways of the kosmische landscape, powered ever onwards in perpetual motorik motion. This time, however, the Hamburg imprint opt for an unhurried itinerary, coasting far beyond the familiar rhythmic terrain to explore crystal caverns and emerald pastures, immersing listeners in the ambient side of this alternative Allemagne. Building on the tape loops, tone poems, and minimalist compositions of the 60"s avant-garde, these musicians utilised the sweeping scope of the synthesiser to create expansive meditations on outer-planetary escapism, human connection, and the natural world. This compilation offers a survey of this singular era, blending pioneering voices with lesser-known artists for an immersive sonic experience.

Full Dose head honcho Brollachan is back with a fresh project alongside fellow Glasgow artist, Limiting Factor. Collaboration between Brollachan and this new name on the scene results in a weighty two track, 2-stepping EP - “Garden of Gelsemine”

The pair conjure up sounds reminiscent of early 2000s UK bass music, but with a certain Full Dose flair. As with some of the best and murkiest Dubstep and dub influenced cuts from yesteryear, these tracks aim for a deeper connection. Off-kilter rhythms and a significant focus on low end mean “Garden of Gelsemine” works well both in the club environment and as an introspective headphone listen.

Welcome to the garden, where Brollachan and Limiting factor have cultivated 2 particularly wacky specimens. "

Buh Records presents Primera Secuencia, the debut album by Ballet Mecánico, the project of Fernando Pinzás. After his time in the synth-punk band Varsovia, Pinzás embarks on a new phase as a solo artist and producer, exploring electronic styles from the 1980s like synthpop, Hi-NRG, Italo disco, and techno pop. The album blends synthesizers, programmed sequences, and pulsating basslines to create a nostalgic yet danceable soundscape. Set against the backdrop of the pandemic and social movements in Peru, each track tells a story, featuring guest vocalists from the Peruvian independent scene, including Susana Fátima (Gomas), Noelia Cabrera (Blue Velvet, Silveria), Kat Kathia, Luxsie, Luminiscencia, Anabhell (Las Ratapunks), Laura Rosales (Solenoide), and Elva Cío (Specto Caligo). Singles No Cederé and Testamento define the project's dark and ethereal pop aesthetic. No Cederé, featuring Susana Fátima, critiques societal notions of success over an Italo disco and Hi-NRG beat. The track includes a remix by Italoconnection, the duo of Fred Ventura and Paolo Gozzetti, who take it into a hypnotic, spacey realm. Testamento, with Luminiscencia, reflects on the emotional weight of the pandemic, blending synthpop and ethereal pop. Other standout tracks include La ciudad de los incendios, a dystopian vision of Lima with dark disco rhythms, and Como la última vez, a synthpop-driven, melancholic song featuring Noelia Cabrera.

Flamenco is a Spanish art, which has always been prone to hybridization with a multitude of musical languages. Therefore, the universe of "flamenco fusion" could well reflect the way in which Spaniards have related throughout history with other cultures. And that relationship may have often been one of dialogue, exchange, respect and crossbreeding. Among the circumstances that could have favored the traditional mestizaje of flamenco art is the open character of the south of the Iberian Peninsula, to all the civilizations that have settled in its territories; the encounter with America in 1492, and the brotherhood with the Spanish-speaking countries; that the Casa de contratación de Indias, the entity that regulated the transit between Spain and America for centuries, was founded in none other than... Seville! (and olé); without forgetting the FUNDAMENTAL African contribution, brought to America by millions of black slaves throughout the 400 years of the slave trade. Pícaro vol. 4 is an excellent example of how some Spanish flamenco musicians knew how to take advantage of the fashion of other styles and rhythms coming from outside Spain, creating a new sound universe and incorporating them into their repertoire. Undoubtedly, there is a generational replacement of "flamenco Ye-Ye" in Spain with artists like Rosalía or C. Tangana, although now it will be necessary to modernize "the label". This compilation offers us a snapshot of the multiple styles of flamenco hybridization that triumphed in the world during the decades of the 50's and 60's of the 20th century. Through its microsurcos we will discover immeasurable flamenco ye yé (track 1), flamenco rock & roll (tracks 3 and 4), flamenco cha cha chá (tracks 6, 7 and 15) or flamenco mambo (track 12), together with other unusual, exotic and impossible mixes of Spanish song with tango arrabalero, bluegrass, easy listening, swing, groove or soul. Always a happy mix, which are brought together with exquisite taste in this vinyl for your enjoyment.

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

Abel Selaocoe, der gefeierte südafrikanische Cellist und Komponist, präsentiert sein erstes Cellokonzert: FOUR SPIRITS. Das Werk verbindet die reiche Klangwelt seiner Heimat mit alten Melodien, Gesang auf Sotho und Zulu sowie fesselnder Improvisation. Durch einzigartige rhythmische Cello-Spieltechniken und die Zusammenarbeit mit Perkussionist Bernhard Schimpelsberger sowie dem Aurora Orchestra unter Nicholas Collon entsteht ein zutiefst persönliches Erlebnis. FOUR SPIRITS ehrt das Township-Leben: Es reicht von traditionellen Heilern über die Freude der Kinder und die universelle Kraft des Gebets bis zur Feier der Gemeinschaft, die zum Mitsingen einlädt. Diese Live-Aufnahme aus der Londoner Queen Elizabeth Hall fängt die Magie eines einzigartigen Konzerterlebnisses ein.

Clear Vinyl. While Jamie Saft has been a significant presence on previous RareNoise recordings by Slobber Pup, Plymouth and Metallic Taste of Blood, the renegade keyboardist and essential Downtown improviser steps into a dramatically different role on The New Standard. A collaborative trio outing featuring the dream rhythm tandem of drummer Bobby Previte and bassist Steve Swallow, both prolific composers and venerable bandleaders in their own right, it showcases Saft alternating between piano and organ and making thoughtful, melodic contributions throughout. The album is the result of a magical recording and direct mixing session in Saft's own Pottervilles Studios, masterfully setup and captured by 5 - Time Grammy winning engineer Joe Ferla, who is regarded as the fourth member of the band for this remarkably empathetic endeavour. Ferla recorded everything analog direct to two-track 1/2" tape through a Neve console. On ten original tracks, seven of which the keyboardist composed, Saft blends brilliantly with his esteemed elders on this remarkable RareNoise release.

Internet's favourite music critic and Youtube star Anthony Fontana aka Needledrop has gotten a liking to the Grande Mahogany vinyl & digital album 'As Grande As'. The bald funny guy has been raving about the album to his millions Youtube, TikTok and Instagram follower on several occasions, also covering the record in his 'one of the great albums of 2024' round up.

The album is also already making waves in the UK with continuous plays on BBC Radio 1 by Jazz Supernova and BBC Radio 6 by Cerys Matthews as well as the New Music Fix show.

If this is the first time you're hearing about Grande Mahogany, now is the time. Behind the alter ego of Grande Mahogany is Finnish-Ghanaian multi-instrumentalist Jesse Essel, who relocated with his family from Finland to Manchester, England, at the age of 11. It was in Manchester where Essel found his own style, drawing inspiration from the city's diverse music scene.

Grande Mahogany's unique blend of Funk, Rock, Afro-Psychedelia, and R&B has already garnered international interest. Singles from the album, such as "Angle of The Dangle," "Thundercurls," and "SUPER ROCKER," have caught the attention of prominent music critics, for example Anthony Fantano of Needledrop.

"As Grande As" stands as a testament to relentless creativity and perseverance, much of it crafted during tumultuous times. It invites listeners to embrace its raw authenticity, serving as a chronicle of the artist's journey towards unfiltered expression. Mastered by Guy Davie, whose credits include work with Kaytranada, Jon Hopkins, and Mikael Kiwanuka, the album ensures a high-quality sonic experience.

Subjekt mints a new limited edition series with a first vinyl pressing of some Biz (Transmat, Acquit Records) tunes that have previously been available only digitally via his Bandcamp. The Aussie is a real pioneer of techno in his homeland and has also made a mark around Europe with outings on top labels like Further Electronix and Tronic. He always delivers deep, hard-hitting cuts that draw on experiences picked up in the scene since the late '80s. This one opens with 'Tears,' which is a deep and atmospheric sound with fuzzy chords and melancholic moods over a mid-tempo rhythm. 'Worlds Collide' brings some Detroit mysticism, then 'Dark Mofo' taps into electro for a deft, kinetic rhythm and icy melodies that come back from the future. 'Fallen Apache' is a deep and dubby roller with an introspective edge, and 'Teach Em A Lesson' shuts down with an astral odyssey and more fluid synth work over analogue drums. Tasteful stuff from this vital veteran.

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

Founded in 1966, The Beachers is a group whose music is inspired by Caribbean rhythms and Panama’s musical tradition. Calypso, salsa and bolero are part of the unique Beachers sound, whose popularity peaked in the 70s during what is known as “The Golden Era of National Combos”. The Beachers have released 13 albums and more than 30 singles to their name, on prestigious Panamanian record labels like Tamayo, Loyola, or Sally Ruth Records, teaming up with other Calypso legends such as Lord Cobra.

The Beachers are still current and relevant, with five of the original members performing constantly through Panama and the world. Their energy and spirit is felt in the joy, rhythm and flavor of their songs.
Lloyd Gallimore, the band’s musical director since its foundation, and renowned producer Billy Herron have been working together on this new album, commemorating the group’s 50-year career.

This recording relives The Beachers’s magical trajectory and features collaborations with popular Panamanian musicians, a work that displays a sonic landscape filled with the history and legacy of Panama’s Calypso. It’s a tropical musical fantasy whose Caribbean influence has transcended time.

What happens when you combine SUMAC: a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother: a poet and sound artist that has deconstructed hip hop to a point where it"s less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power.

The Film is an album that takes attributes of both artists" work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film"s moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: "The idea is to create a moment outside of the convention. This is a work of art.

Thinking about the work as a Film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won"t understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process." The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother.

Electro tastemaker Adam Curtain shows his class again across three new cuts on this latest for Infiltrate while Enchanted Rhythm steps up for one collaboration. That track, 'RSKOUSS' is a body-popping mix of breaks and clattering percussive hits with spooky synths and plunging bass finishing it in style. With the solo cuts, Curtain first explores acid laced and bass-heavy broken beat on 'You Say You Love Me' then smoky futurism with 'Olive Man' and its moody low-end oscillations and bleeping synth tones. Another brilliantly snappy kick and clap combo brings the funk to 'Urchinitus' while distant pads nag like the memory of a lost love. These are storied beats for knowing 'floors.

We know nothing about the newly emerging Fefe other than the fact that they hail from Down Under and, on this evidence, make classy club tackle. 'Trudd' is a supple, shapeshifting deep techno opener with sub-aquatic pads and churning rhythms. 'Bogged Under' gets more dark and heavy with drum pressure never letting up as spangled synths occupy the mind. 'Diddy's Rug' brings a lighter melodic touch with trippy patterns and hallucinogenic qualities for the afters then 'Fire Warden' is a double-time stepper with dub weight and urgent energy to make for another sophisticated offering from Danza Nativa.

French producer Saint Paul was raised in Lyon with Ivorian and French heritage and is now based in Reunion Island. He was a founding member of Moonrise Hill Material and continues to refine his style, which is infused with jazz, funk, hip hop and African rhythms. Though built for the dancefloor, it comes rich in introspection that marries energy and soul. This six-track EP on GLBDOM takes in the horn-laced New York house vibes of 'I'm Ur DJ', swinging MAW-esque kicks of 'We Can All Groove With It' and jazz-laced depths of 'Extreme Vibration'. It's an EP full of class and character with the late-night lounge sophistication of 'Elixir De Bons Souvenirs', another highlight.

In the previous episode, the Vibracid technique was discovered as a way to deactivate memories imposed by technocratic elites.

Now, with VIBRACID 2, its real deployment begins: a series of sonic attacks targeting control systems through rave vibrations.

Each track is a weapon. Each producer, a node of resistance. “Vibracid Advent,” the single that launched the assault, opens the mini album with acidic force — delivering the first sonic strike that breaks through imposed control. From the acidic and powerful aggression of Calagad 13 (Spain), through the modular precision and acid techno of C.C.O (Contra Communem Opinionem, Switzerland), to the dark, industrial electro of Mokotron (New Zealand). Atix brings the French 90s rave energy; Wicked Wes, from Florida (USA), builds grooves with bifasic rhythms and glitch textures; and Romphea (Greece) closes with distorted breaks exploring chaos and sonic escape.

Careful sound and mastering, and exceptional design for a limited edition of 150 copies on solid red vinyl.

Slikback releases "Attrition" – a densely detailed, cinematic exploration of sound packed with intricate rhythms and gleaming textures.

Slikback’s "Attrition" marks his first full-length album for Planet Mu, delivering an immersive melding of cinema and game sound design with tough dance music. It's like a sci-fi film for the ears, exploring a chain of events with dark atmospheres and dramatic pacing; trapdoors and jump scares for your ears. These contrasts and the dense painterly colour of his sounds give it a beastly beauty.

The album came to life during a period of transition, while waiting for a visa after recently moving to Poland from Kenya, where he grew up. With this unexpected pause in travel, Slikback found himself working at a slower, more deliberate pace. Writing for a label instead of self-releasing also introduced new dynamics, like feedback and structured release schedules. Rather than feeling restricted, he saw this process as a blessing. In a happy and reflective headspace—newly married and welcoming a newborn child—he was able to fully develop his compositions. “I was finally able to explore ideas to a point where I didn’t feel the need to change anything,” he shares. "Attrition" is the result of that creative freedom. While "Attrition" nods to familiar genres, drawing on elements of Gqom, Dubstep, Tech-Step, and Hardcore Techno, it pushes them into new territory, shaping high-tech, intricate compositions. “I worked on the tracks back and forth, drastically transforming some from their original sketches,” Slikback explains. “I wanted to create a journey within each track, like something alien emerging from emptiness—beauty from chaos.” The album opens gently before diving into fast-paced 140bpm sounds, reminiscent of earlier Planet Mu releases. Midway through, "Taped" shifts the energy with a shimmering, 160bpm rolling bassline. As the album progresses, its intensity builds. The music grows darker, faster, and more unpredictable, culminating in a final track that bursts apart in a thrilling, chaotic climax. A standout moment in Slikback’s career, "Attrition" is a masterclass in sound design and vision. Strange yet beautiful, intense yet rewarding—it’s the most strikingly unique album you’ll hear all year.

Originally released in 1978 on Americom Records. Officially reissued for the first time with love by Celestial Echo Records.

Some records just have that magic. A vibe that pulls you in from the first note and doesn’t let go. Phylliss Bailey’s 1978 cult classic Phylliss is one of those records—a hidden gem of modern soul and disco that’s been doing the rounds for decades in underground scenes, on dancefloors, and among collectors who know. It’s been whispered about in the right circles, bootlegged and then bootlegged again—but never given a proper reissue… Until now.

Celestial Echo Records proudly presents the first official reissue of Phylliss, a record that’s as essential today as it was back then. Originally released on the independent Americom label, the LP flew under the radar in its day but has since become a secret weapon for DJs with a taste for the modern soul & disco sound.

Phylliss Bailey’s voice is pure class—gliding over lush arrangements, tight rhythm sections, and dreamy strings with ease. Whether she’s riding the groove on dancefloor bombs like 'Focus' and 'Release Me' or slowing it down on the smouldering 'Feeling Of Love,' Bailey brings emotional weight and undeniable swagger to every track.

Fully remastered and officially licensed, it brings Phylliss into the light where it belongs. With a reimagined sleeve and labels (to distinguish from some shady copies going around!). This record is looking and sounding better than ever.

Celestial Echo Records is a label devoted to the soulful and the timeless. Based in London and run by miche & Stu Clark, the imprint has been steadily carving out a reputation among collectors and DJs for high-quality, lovingly curated reissues of rare modern soul, boogie, and disco. With each release, they shine a light on overlooked gems that still resonate deeply in today’s clubs and dancefloors. Phylliss is the next jewel in their growing catalogue of essential rediscoveries.

With the 7th Grade of the Riddim Dub School series, Prince Istari enters
Junior High School. Prince Istari returns with his Riddim Dub School
series now on 12inch, pushing deeper into the intersection of dub, drum
and bass, and sound system culture. This 6-track EP, titled "lessons
into drum and bass wise", explores raw rhythms, analog feedbacks, and
heavy low-end pressure.

The EP starts with a Drum and Bass cut with a One Drop of the DUB ME
LOOPY tune from Riddim Dub School 5th Grade. INTIMACY COORDINATOR
follows with a heavy Disco Dub. The last track on Side A is LABOUR’S
DUB, with deep bass polished through spring reverb. The shakers come in
late and push the whole thing forward. Side B begins with GONE TOO SOON
from Riddim Dub School 4th Grade, in an alternative version. It’s
followed by the most upfront track on the release CONQUERING DUB – brass
fanfares and a deep disco rocker beat with minimalistic arrangement. NO
DUB INNA DI WRONG ends the 7th Grade with a roots way style. It suggests
that dub music doesn't belong to or support negative, corrupt, or unjust
actions or spaces. Dub music stays righteous, true, or positive, and
doesn’t associate with bad vibes or wrongdoing.

Formed by George Thompson, Kyle Martin and Jonathan Nash, Kommune were active between 2014-2015. As close friends living near each other, their musical journeys were intertwined; Nash and Martin had recently completed their debut album as Land Of Light, while Thompson (aka Black Merlin), at that time putting the finishing touches to his debut album ‘Hipnotik Tradisi’, was also working with Martin as part of the duo Spectral Empire. Sharing equipment and ideas, Kommune arose organically, serving as a creative outlet for exploring analogue machine music in an improvisational context.

Sessions in their North London studios led to a handful of gigs at venues including Hamburg’s legendary Golden Pudel and London’s LN-CC. This fleeting chapter of musical history may well have gone entirely undocumented had it not been for the fortuitous decision to meet up for a recording session in October 2014. Filling a car with their machines, they drove to a converted barn in the south of England, proceeded to set up, settle in and hit the record button. Over the course of two days, fuelled by the experiences of recent performances, the trio immersed themselves in the machines, crafting subtly evolving, long-form compositions with an enchanting balance and flow.

Across the four long-form compositions that make up ‘Oast’, the trio summons barely controllable scrapes, acid-like bubbles, and bleeps from their machines, leaning on dub mixing techniques to give the tracks a sense of depth, dynamism and organic ambience. Mastery of the TR-808 drum machine is central, with remarkably nuanced drum programming imparting a hypnotic rhythm to the work, allowing other elements to emerge and unfold at a beautifully measured tempo.

Recorded entirely live and improvised without any overdubs, ‘Oast’ offers a profound journey into minimalist electronic music while serving as a tribute to friendship, curiosity, and the spirit of experimentation.

Sleeve art and design by Michael Willis.

Horace Silver’s 1962 tour of Japan had a deep impact on the pianist who dedicated his album The Tokyo Blues to his Japanese fans. With his quintet of Blue Mitchell, Junior Cook, Gene Taylor, and John Harris Jr., Silver combined a “Japanese feeling in the melodies with the Latin feeling in the rhythms.” This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

For a decade now, BAD SUNS have thrived in the sweet spot between indie rock polish and modern alt-pop energy, crafting a sound that feels both urgent and timeless. Accelerator, their fifth studio album, doesn"t just refine that identity-it pushes it into new territory. Stratocasters shimmer through overdriven Vox amps, synths surge like late-night city lights, and the rhythm section pulses with a restless, undeniable energy. It"s a record that doesn"t just move; it commands attention. The band"s evolution has been constant. Since their early days cutting their teeth on tours with Halsey and The 1975, Bad Suns have spent the past two years stretching their reach across genre lines, proving their versatility at major festivals and iconic venues. Whether electrifying Red Rocks alongside All Time Low, opening for Angels & Airwaves, or winning over Finneas" pop-leaning crowd on their 2025 U.S. run, they"ve made a case for themselves as a band without borders. Helmed once again by longtime collaborator Eric Palmquist (MUTEMATH, Thrice) at Palmquist Studios, Accelerator feels like the band"s most conceptually realized work to date. Its 12 tracks unfold with cinematic ambition, balancing airtight hooks with an emotional resonance that shifts depending on how you approach them. It"s an album that doesn"t just sit in the background-it begs to be experienced.

Limitierte Reissue des jüngsten Coid Cave-Albums aus 2024 auf schwarzem 180g Glitzervinyl: "Passion Depression" ist ein düster-leuchtendes Werk voller romantischem Synthie-Pop und poetischer Intensität. Geschrieben, aufgenommen, produziert, gemischt und gemastert von Wesley Eisold und Amy Lee, verbinden die acht Songs kraftvolle Elektronik mit melodiegetriebenen Hymnen, die Sehnsucht, Entschlossenheit und Hingabe ausstrahlen. Vom spannungsgeladenen, flackernden Rhythmus von "Shadow Dance" bis zum treibenden, hymnischen "Hourglass" bewegt sich das Album zwischen starkem Minimalismus und überwältigender Emotion – und spannt den Bogen von Einsamkeit zu Hingabe. Hallgetränkte Vocals schweben mit ruhiger Intensität und bewusster Kontrolle über gleichmäßigen Synthklängen. Mit den Singles "She Reigns Down", "Shadow Dance", "Blackberries" und "Hourglass".

In C is a musical piece by the composer and performing musician Terry Riley. As one of the first minimalist compositions and a masterpiece of this genre it’s a response to the modern music that dominated the scene in 1968. The piece inspired a lot of famous composers, like Philip Glass and Steve Reich. In C consists of repeating cells and different rhythms, loosely based on the musical structures he had heard and loved in north African music. 53 short musical phrases
is where the compositions is made of. The thing that makes In C so enduring is that, once all concept is stripped away, it’s a seriously hypnotic piece of music. For listeners with a sympathy for minimalism it’s a wild and impressive work, full of energy.

In C is available as a limited edition of 750 individually numbered copies on gold coloured vinyl.

In C is a musical piece by the composer and performing musician Terry Riley. As one of the first minimalist compositions and a masterpiece of this genre it’s a response to the modern music that dominated the scene in 1968. The piece inspired a lot of famous composers, like Philip Glass and Steve Reich. In C consists of repeating cells and different rhythms, loosely based on the musical structures he had heard and loved in north African music. 53 short musical phrases is where the compositions is made of. The thing that makes In C so enduring is that, once all concept is stripped away, it's a seriously hypnotic piece of music. For listeners with a sympathy for minimalism it’s a wild and impressive work, full of energy. In C is available as a limited edition of 750 individually numbered copies on gold coloured vinyl.

A captivating deep cut from the golden age of Italian library music, Il Ponte Dell’Asia stands as one of Piero Umiliani’s most evocative and exotic soundscapes. Originally released in 1967 as a private pressing for Italian the TV documentary by Corrado Sofia, this elusive gem blends Far Eastern motifs with the elegance of mid-century European jazz and the textured experimentation that defines Umiliani’s best work.

On Il Ponte Dell’Asia, Umiliani constructs a cinematic bridge between continents, layering modal melodies, sinuous flutes, shimmering vibraphones, and richly orchestrated strings over hypnotic rhythms and subtly psychedelic touches. The result is a masterful fusion of East-meets-West that channels both travelogue fantasy and avant-garde sophistication — a rare synthesis of traditional instrumentation and modernist sensibility.

Exported from the original tapes, pressed on high-quality vinyl and with faithfully restored artwork, this reissue offers a long-overdue return to one of Umiliani’s most immersive sonic journeys, an essential for fans of Italian library music, film scores, and genre-defying jazz.

Rediscover a lost jewel from the vault of one of Italy’s most visionary composers — where bamboo forests, smoky clubs, and dreamlike landscapes converge in sound.

©℗ 1967, Liuto Edizioni Musicali / Licensed to Holy Basil Records by Liuto Edizioni Musica

Auf »Necessary Fictions« zeigt das Trio GoGo Penguin, das seit seiner Gründung Jazz, klassische Musik und elektronische Einflüsse miteinander verbindet, was es aktuell als seine »wesentlichen, authentischen Qualitäten empfindet«. Das führt zu einem verstärkten Einsatz modularer Synthesizer in seinem Sound.

GoGo Penguin, zu denen seit der Pandemie der Schlagzeuger Jon Scott gehört, luden erstmals einige Gastmusiker für ihr neues Albumprojekt dazu: das achtköpfige Streicherensemble Manchester Collective unter der Leitung der künstlerischen Direktorin und Geigerin Rakhi Singh sowie den Singer-Songwriter Daudi Matsiko.
»Necessary Fictions« wurde so ein Album voller ambitionierter neuer Entwicklungen – von einer Band, die vollkommen im Reinen mit sich selbst ist: selbstbewusst genug, um sich auf Zusammenarbeit einzulassen, gespannt darauf, wohin die Reise als Nächstes geht, und voller Lust, dabei auch Spaß zu haben. »Mir ist sehr bewusst aufgefallen, wie oft ich im Studio beim Aufnehmen gelächelt habe“, sagt Illingworth, „und ich lächle jetzt gerade, wenn ich nur daran denke. Ich hoffe, diese Energie überträgt sich auf die Menschen.«

Für »Necessary Fictions« konnten sie ihr eigenes Studio in Manchester in einen stimmungsvollen Treffpunkt verwandeln – einen angenehmen Ort, an dem man gerne Zeit verbringt, mit Kunstwerken, Fotografien und anderen Bildern an den Wänden, die als Anregung und Inspiration dienten. Illingworth und Blacka waren dort so gut wie jeden Tag über zwölf Monate hinweg im Jahr 2024; dann kam Scott, der in London lebt, nach Manchester, um mit den beiden festen Größen von GGP zu arbeiten, sobald sie bereit für seinen rhythmischen Input waren. Der Titel des Albums stammt aus dem Buch »The Middle Passage - From Misery to Meaning in Midlife« des Psychoanalytikers James Hollis, das, wie Nick sagt, »sehr jungsche Sachen über das Schatten-Ich und verborgene Persona präsentiert. Man fängt an zu denken, ‚Moment mal, da ist ein authentisches Ich, tief drinnen irgendwo!«. »Musikalisch«, ergänzt er, »war es der gleiche Prozess, die gleiche Reise, einige der Dinge abzulegen, an die wir uns gewöhnt hatten und die uns zurückhielten.«

Der gesamte Veränderungsprozess ihrer musikalischen Entwicklung wird von einem Track auf »Necessary Fictions« zusammengefasst, der bezeichnenderweise den Titel »What We Are And What We Are Meant To Be« trägt. »Es ist wirklich einfach, wirklich melodisch«, erklärt Nick. »Es ist kein Showoff, wie ‚Hey, schaut mal, was für Skills wir haben und wie großartig wir sind!‘ Es gibt nicht einmal Improvisation darin. Bassmäßig hat es einfach einen Bass-Synthesizer wie ein Dance-Track. Ein Teil von mir denkt immer noch: ‚Was werden die Leute denken?‘ Dann gibt es einen anderen Teil, der einfach denkt: ‚Was soll‘s, die können denken, was sie wollen! Das ist das, was wir gerade machen wollen, und es fühlt sich authentisch an.‘«

Für Chris Illingworth hingegen bestand ihre Reise darin, weiter in eine Welt vorzudringen, die ihn immer schon angezogen hat, nämlich Synthesizer. »Ich bin früher oft live zu Leuten gegangen, die auftraten, wie Underworld, The Prodigy, Orbital, sogar Nine Inch Nails, und ich habe all ihr Equipment auf der Bühne gesehen, und ein Teil von mir dachte: ‚Verdammt, das sieht nach Spaß aus!‘« Illingworth und Blacka blieben jedoch weiterhin äußerst vorsichtig, was das willkürliche Einfügen von schrillen Sounds betrifft. »Wir wollten nicht, dass es wie ein Gimmick wirkt«, erklärt Chris. »Es musste einen Grund geben – und für uns war das der Wunsch, an bestimmten Stellen den Charakter der Musik zu verändern.«

GoGo Penguin hatte schon immer einen erzählerischen, filmischen Ansatz in ihrer Musik – weit entfernt von simplen Strophe-Refrain-Strukturen, inspiriert von Debussys »Préludes« bis hin zu Underworlds »Pearl’s Girl«. Auf »Necessary Fictions« nimmt diese Klang-Erzählkunst nun deutlich größere Dimensionen an – mit spürbar mehr Raffinesse.
GoGo Penguin graben nun selbstbewusst tief in sich hinein, um ihr bestes Selbst hervorzubringen und andere Talente in ihre harmonische Klangwelt einzubeziehen. Mit »Necessary Fictions« bewegen sich die Drei auf neuen Pfaden – und ja, es ist völlig in Ordnung, dabei zu lächeln.

Kobe Dupree unveils debut album, ‘Voice from the Inside’, arriving 21st May 2025. It lands on fellow Chicagoan DJ Hyperactive’s 4Trk (4 Track Recordings), and features twelve tracks already supported by the likes of Dustin Zahn, Truncate, Korea Town Acid, Amanda Mussi & more, coming out on wax alongside the digital release.

Dupree’s cosmic ambient opener, 'Jacurutu', sinks you into deep, sub-aquatic techno hypnosis before 'Heretics' layers up alien sounds and rolling kick drums. 'Syk' brings edgy, unrelieved loops and muffled spoken words over more mind-melting rhythm. The supple sounds and otherworldly atmospheres continue on 'Forms', which is marbled with static electricity, with 'Interlude of Voice' marking a moment to reset amongst gorgeous celestial synth smears.

The second half of the album takes in the more punchy but still perfectly loopy deep techno of 'Memory Replacement' and psychedelic swirls of 'Tongue of the Unseen'. There is a mystical charm to the harmonic tones of 'Gammu', a moodier vibe pervades the suspensory 'Fogwood', then 'Semuta Music' traps you in tightly coiled drums and hi-hats while a backlit glow soothes the soul. 'One of Many Faces' closes with a heart-aching piano piece that gets deeply emotional.

Kobe Dupree is a techno artist from Chicago with a deep interest in sound design and minimalism. His musical experiments have been released on Trax Research, Double Vision Records and DJ Hyperactive’s 4 Trk, on which he released the ‘Stimulate | Iterate’ EP in 2024. He has a hybrid approach to production, which involves using a modular rig for sound design before moving to a DAW for arrangement and final touches, heard on the sophisticated and cerebral ‘Voice from the Inside’ album.

Techno legend release with straight forward as you would expect rhythms and tweak actions

Stamped like a Truncate classic

Simmer Pine, a five-member indie pop band known for its nostalgic, somewhat sad melodies and floating sound, has released their long-awaited first record with "Bubble" featuring a light ska-like rhythm and dreamy guitar.


"Bubble," included on Side A, is a song that draws you into Simmer Pine's unique lyrical worldview, with a light ska-like rhythm and a hazy, dreamy guitar sound that blendstogether comfortably. It evokes the feeling that past seasons and nostalgic scenery suddenly come back to life in the midst of the gently flowing time.

On the other hand, "milkshake" on Side B is a complete contrast, with a refreshing guitar riff in the intro that runs through it, making it a perfect song for the summer atmosphere.

The pop and light finish makes you want to listen to it with the windows open on a sunny afternoon. Simmer Pine's freshness and openness can be felt throughout the song.

This is a must-have album for both those who are experiencing their music for the first time and long-time fans alike, as it will gently accompany you through the seasons.

The warm sound quality that only analog can provide will bring out the delicate expressions of the songs even more

Hamburg-born composer, pianist and producer Niklas Paschburg announces his latest project, 'Mexican Alps' EP due for release on July 11th. 'La Hormiga' is a rhythmic exploration of life in motion. Pulsing beats and textured synths create forward momentum, echoing the journey through the winding paths of Oaxaca's mountainous surroundings, where tradition and nature intertwine. 'Mexican Alps' combines inspirations gathered from the picturesque mountains of southern Mexico and the majestic peaks of the Swiss Alps. The EP is a mesmerizing journey through those landscapes; drawing inspiration from nature's grandeur and the vibrancy of Día de los Muertos, Niklas blends electronic textures, atmospheric samples, and innovative instrumentation to create a soundscape that is both grounding and transcendent. Without relying on his signature piano, this EP explores new creative territories, evoking deep emotional resonance and moments of introspection. -- If his first album, 'Oceanic '(2018), was conceived as an ode to the Baltic Sea, for his next release, 'Svalbard' (2020), produced with Andy Barlow of Lamb, the Hamburg-born musician, now a Berliner by adoption, sought refuge on an island in the Arctic Ocean, surrounded by snow, ice, darkness and breathtaking landscapes. This time, however, the setting is completely different. "It all started with an invitation to play at a festival in Oaxaca," Niklas says. "Since I had never been to Latin America, I began considering how to take advantage of the opportunity to stay for a while and write something there. I started looking for houses, but I quickly realized it was almost impossible to find one with a piano—it's not a common instrument in Mexican culture. I thought, why not try immersing myself in a writing process that doesn't involve one? I was so excited about the idea that I jumped in." 'Mexican Alps' is the result of a challenge in which Paschburg harnessed his collection of synths and effects to create an ambient-electronic record. On the one hand, an evolution of the work primarily carried out in 'Svalbard' and 'Panta Rhei'; on the other hand, an episode in its own right, distinct from its predecessors due to the absence of the piano and the greater role played by improvisation, by coincidence, it became his first work created without his signature instrument. "Not having the opportunity to write chords, harmonies, and everything else on the piano, I improvised more, focusing on the sound. This was the approach I used to record demos in Mexico, which I then brought with me to Switzerland, where I carried on working on the EP. In addition to my usual setup (the OB-6 by Dave Smith and Tom Oberheim and the OP-1 by Teenage Engineering, plus my ever-beloved Hohner accordion, inherited from my grandfather), I was also guided by the purchase of a new Moog Matriarch with a unique delay. All this helped me build the sound I had in mind: a spacious, abstract, 3D sound that is definitely immersive." He expands. It is an emotional landscape that translates into music. In some of the tracks, Paschburg has also included field recordings collected during the Día de los Muertos, a deeply felt Mexican holiday: "A great celebration, a colorful parade of skeletons, skulls, flowers, and decorated altars, so engaging and intoxicating that I felt compelled to use its sounds in my music." It was precisely from this blend of influences that the fourth track, "Oaxaca de Juárez", emerged—a single characterized by a catchy funk procession and enhanced by the guitar work of Tal Arditi, a rising European jazz artist and singer-songwriter based between Basel and Berlin. 'Mexican Alps' is his new calling card, featuring an enveloping sound crafted by Paschburg in collaboration with Gijs van Klooster, who mixed the EP in a studio specifically designed for Atmos music. Mastering was handled by Bo Kondren at Calyx Studio in Berlin.

Visionary producer and one half of pioneering electronic duo The Chemical Brothers, Tom Rowlands returns to Phantasy with ‘We Are Nothing / All Night’, the first solo dancefloor material since his last appearance on Erol Alkan’s storied London label in 2013 with ‘Through Me / Nothing But Pleasure’.

Once again, Rowlands delivers a double A-side single in order to commit two progressive new productions to wax. Heavily road-tested across the world in Chemical Brothers DJ sets, the sprawling arrangement of ‘We Are Nothing’ trips through a decades-long obsession and subversion of house music and psychedelia alike. Imaginatively sampling Canadian outsider artist Bill Bissett, Rowlands uses the poet’s existential phrasing as the foundation for a rising slalom of acid catharsis, peppered with snatches of soul, analogue freakouts, and all-encompassing groove.

‘All Night’, meanwhile, finds a different, perhaps unexpected rhythm. Here, Rowlands’ unmatched studio instincts deviate in a different direction entirely, employing a searing tempo to embrace the analogue experimentation at the heart of his work, as well as an appreciation for electronic music’s willingness to barrel ever-forward; the result is a worthy head spinner from both label and artist alike.

Tom Rowlands will play a rare solo DJ set at Glastonbury's Stonebridge Bar on Friday 27th June, as part of Bugged Out's 30th Anniversary celebrations.

OVERVIEW: Brownswood Remix Editions 007 sees Brownswood Recordings return to two classic moments from its back catalogue, offering a new vinyl edition of standout reworks by Moodymann and Yoruba Soul. Both remixes have become favourites among collectors and DJs alike, and this release brings them together on wax for the first time in over a decade.

The A-side features Moodymann’s remix of José James’ “Desire”, a seductive and slow-burning reinterpretation first released in 2008. With his signature raw soul and deep house textures, the Detroit visionary stretches out the track into a hypnotic, late-night groove—balancing José’s smooth vocal delivery with dusty drums and smoky atmosphere.

On the flip, Osunlade—under his Yoruba Soul alias—reimagines Ben Westbeech’s “So Good Today”, transforming it into a gently percussive, spiritually infused house cut. Drawing from Afro-Caribbean rhythms and warm keys, the remix remains one of the most enduring and beloved versions of Westbeech’s breakout track.
Though both remixes have long been available digitally or on separate releases, Brownswood Remix Editions 007 brings them together in a unified edition that highlights Brownswood’s long standing commitment to collaboration, reinterpretation, and timeless sound.

We are very happy to present you a special release from gutinstinct! After his contribution ‚Eternal Jungle’ on the 10 year anniversary compilation ‚Down The Danube River’, he returns to Fortunea Records with the Back To The Roots EP. A collection of tracks suitable for different moments in a clubbing environment.

The record opens with his melodious and emotional expression of ‚Art‘. This energetic track forces us to sink into venturesome sound waves driven by a dark but at the same time warm pad. A beautiful catchy synthesizer hook line is the icing on the cake on top of it.

Similar tonal but not as uplifting as the opener is the title-track of this EP. A simple, grooving, relentless and continuously deep journey that exemplifies gutinstinct’s profound innate understanding of rhythmic grooves and complexity in simplicity.

Sensuous chills and thrills continue with ‚Pueblo’ on the B-side. A constantly rolling and evolving piece of synth laden ecstasy with richness and colour, driven by the sort of thick analogue basslines and distinctive melodies that have come to define his catalogue.

Lastly, the record closes out with a remix of the title-track by the analogue gear enthusiast Jakobin. In this version he takes the beautiful arpeggio synth sounds and amalgamates them into a framework of lo-fi house aesthetics. You can just imagine this track slicing through an unbent sunset dance floor or morning afterhour ceremonies.

The Back To The Roots EP will be available on august 1st, 2025 digital and on limited vinyl.

Surprise Chef press two standouts from their latest album Superb on a 7" for a straight fire two-sider.The A side "Bully Ball" kicks in the door like the fellas have something to prove_Thundering drums start the affair then a haunting piano riff, guitars, bass, and glockenspiel trade places pushing through the speakers and mesmerizing the listener. The B side "Consulate Case" is another turn it up to the red banger that is sure to fill the dance floor. The rhythm section is full blast right out of the gate and the synth teases in a lush piano part that puts this one over the top and commands your attention.